Photoshop CS4 for Dummies phần 8 pptx

Figure 13-9: Select any individual character and change its font, color, size, or any otherattribute.Each character in a type layer can have its own attributes.. Click and dragover one o

⻬Anti-Aliasing: Anti-aliasing

soft-ens the edges of each ter so that it appears smoothon-screen As part of thisprocess, anti-aliasing hides thecorners of the individual pixelswith which the text is created

charac-When outputting to a laserprinter or other PostScriptdevice, anti-aliasing isn’trequired It is, however, criticalwhen printing to an inkjet orwhen producing Web graphics

Generally, the choices herehave little difference amongthem (other than None, ofcourse) Smooth is a goodchoice unless your text begins

to look blurry, in which caseyou should switch to Crisp

Use the Strong option withvery large type when the indi-vidual character width must be preserved

⻬Alignment: The three alignment choices on the Options bar determine

how lines of type are positioned relative to each other The buttons do a

rather eloquent job of expressing themselves, wouldn’t you say? Note:

Don’t confuse the term alignment with justification, which straightens

both the left and right margins (and is selected in the Paragraph panel)

⻬Type Color: Click the color swatch on the Options bar to open the Color

Picker and select a type color You can select a color before adding text,

or you can change the color of the text later If you start by selecting atype layer from the Layers panel, you’ll change all the characters on thatlayer when you select a new color in the Color Picker Alternatively, use

a type tool to select one or more characters for a color change, as youcan see in Figure 13-9

⻬Warp Text: Warp Text, which I discuss later in this chapter, bends the

line of type according to any number of preset shapes, each of whichcan be customized with sliders (The text in Figure 13-9 uses the ArcLower warp style.) Keep in mind, however, that the Warp Text featureisn’t available when the Faux Bold style is applied through the Characterpanel (I talk about faux styles later in this chapter.)

Figure 13-8: Some fonts have many stylesavailable

Figure 13-9: Select any individual character and change its font, color, size, or any otherattribute.

Each character in a type layer can have its own attributes Click and dragover one or more characters with a type tool and then use the Options bar orCharacter panel to change the text attributes Color, font, style — just aboutany attribute can be assigned, as you saw in Figure 13-9

Like many word-processing programs, you can select an entire word inPhotoshop by double-clicking the word (with a type tool) Triple-click toselect the entire line Quadruple-click to select the entire paragraph Clickfive times very fast to select all the text

Taking control of your text with panelsFor incredible control over the appearance of your text, use the Characterand Paragraph panels In addition to all the text attributes available on theOptions bar, the panels provide a wide range of choices With them, you cancustomize the general appearance of the text or apply sophisticated typo-graphic styling

The Character and Paragraph panels can be shown and hidden by using thePanels button on the Options bar or through the Window menu By default,the two panels are nested together, so choosing Window➪Character orWindow➪Paragraph makes both panels available

You can use the Character panel to edit a single selected character, a series

of selected characters, or the entire content of a type layer Figure 13-10shows what you face when “building character” using this panel

Figure 13-10:More choices than the Options bar!

Unless you’re a typographer, a number of the fields in the Character panelmight require explanation:

⻬Leading: Leading (pronounced LED-ding rather than LEED-ing and which

refers to the lead strips of metal that typesetters used to place betweenlines of type) is the vertical space between lines of text Generally, you’llleave Leading set to Auto However, you can select one or more lines oftext (select the whole line) and change the spacing Adding more spacegives the text an airy, light appearance Reducing the leading tightens upthe text, which enables you to fit more lines in the same area

⻬Kerning: The space between two characters is determined by the

kerning built into a font You can, however, override that spacing Click

with a type tool between two letters and then change the setting in theKerning field to change the distance between the letters You might, for

example, want to reduce the kerning between a capital P and a case o to tuck the second character protectively under the overhang of

lower-the taller letter This can produce a cleaner and better-connected tionship between the two characters

rela-⻬Scaling: Vertical and horizontal scaling modifies the height and width of

the selected character(s) You’ll find this useful primarily for ing short bits of type rather than long chunks of text

customiz-⻬Baseline Shift: Produce subscript and superscript characters, such

as those used in H2O and E = mc2, with the Baseline Shift field TheCharacter panel’s Baseline Shift option is best used in conjunction with a slight reduction in the font size for the specific character(s)

Open palette menuFont family Font styleFont size LeadingKerning Tracking

Horizontal scaleVertical scale

Text colorBaseline shift

Faux styles

Anti-aliasingDictionary

⻬Faux Styles: Use faux styles to apply the appearance of a character

style, even when they’re not built into the font From the left, as the tons show, the available faux styles are Bold, Italic, All Caps, Small Caps,Superscript, Subscript, Underline, and Strikethrough Generally speak-ing, if a font offers a specific style in the Font Style menu, you’ll use thefont’s built-in style rather than the faux style

but-⻬Dictionary: Photoshop has almost three dozen dictionaries built in.

And, wonderfully or confusingly depending on your personal linguistictalents, you can assign dictionaries on a word-by-word (or even charac-

ter-by-character) basis You could, for example, insert a bon mot into the

middle of your text in the language of your choice, assign the ate language dictionary, and not have that phrase trigger an alert whenyou run a spell check (Edit➪Check Spelling)

appropri-Type warping isn’t available when Faux Bold is applied to any of the selectedcharacters As warped as it might sound, that’s the only faux style that inter-feres with Warp Text

If you click in your image window and start typing but no characters appear,check the Layers panel to make sure no layer is hiding your type layer andverify that your text color isn’t the same as the background over whichyou’re typing If neither of those factors is the problem, it’s likely an invalidsetting in the Character panel Press the Escape key, and then right-click onthe Type tool icon at the left end of the Options bar and select Reset Tool.You’ll probably find yourself using certain sets of options pretty regularly inPhotoshop Luckily for you, you don’t need to make changes on the Optionsbar and Character panel every time you want (for example) Arial Bold, 24 pt,Sharp anti-aliasing, 22 pt leading, and tracking +10 Set up the options onceand then click the Create New Tool Preset button in the panel at the left end

of the Options bar, as shown in Figure 13-11 The next time that you wantthose specific text attributes, select the preset from that panel, and you’reready to type!

Figure 13-11:Tool presets can save you lots of time

The Paragraph panel is used, not surprisingly, with paragraph type Thealignment options that you see in the upper left of the Paragraph panel inFigure 13-12 can be applied to both point type and type on a path, but youcan usually access your alignment options much more easily from theOptions bar.

Figure 13-12:Most of this panel is only for paragraph type

I use the term type container when I discuss the Paragraph panel and

para-graph type Think of it as a rectangular column of text, with the words flowingfrom line to line, just as they do when you compose e-mail or use a wordprocessor You drag a type tool to create the rectangle, and then you typeinside that rectangle In contrast, when you simply click a type tool and starttyping, you need to press Return (Mac) or Enter (Windows) at the end ofeach line

You can find specific information about some of these options later in thechapter (when I discuss paragraph type), but here’s a quick look at thechoices in the Paragraph panel:

⻬Alignment: As the text flows from line to line in your type container, the

alignment option determines how the lines will stack You can align the

text for a straight left edge, a straight right edge, or you can have thelines stack centered upon each other Which option is selected alsodetermines where text will be placed in relationship to the point in the

image where you click when adding point type.

⻬Justification: Unlike alignment, which balances lines of type based on a

point of origin (left, center, or right), justification equalizes both the left

and right margins of a paragraph of type As you can see by the icons,the difference among the four options is the last line in the paragraph

That last line can be aligned left, centered, aligned right, or stretched to

fit from left to right (called full justification).

⻬Indent Margins: Paragraphs of text can be indented from the left margin

or the right Even if you have only a single word selected, the entire graph is indented Harkening back to that last term paper you wrote(whenever that might have been), think in terms of a block quote Youcan also use negative numbers in the Indent Margin fields, which extendsthe paragraph beyond the margin

para-Justification optionsAlignment options

Indent right marginIndent left margin

Space after paragraph

Indent first lineSpace before paragraphHyphen paragraph type

⻬Indent First Line: You can indent the first line of your paragraphs

(or extend the first line to the left past the margin with a negative value)without having to press the Tab key The option can be set before youstart adding text and is applied to each paragraph

⻬Space Before/After: When your type container includes multiple

para-graphs (created by pressing the Return/Enter key), you can specify thedistance that’s automatically added between them Rather than pressingthe Return/Enter key an extra time between paragraphs, set the spacing

in the Paragraph panel

⻬Hyphenation: If you’re using justification rather than alignment, I

recom-mend keeping the Hyphenate check box marked When words at theends of lines of justified type aren’t hyphenated, the spacing within thelines can get rather messy If you don’t like the look of hyphens along theright margin, clear the Hyphenate check box

Keep in mind that after you drag a type tool to create a type container, youcan have as many paragraphs as fit When you reach the end of a paragraph,press Return/Enter A new paragraph is created within the type container.Consider the type container to be a column of text, such as you’d see in anewspaper, magazine, or newsletter

The panel menus — even more optionsLike most of Photoshop’s panels, clicking the menu button in the upper-rightcorner of the Character or Paragraph panel opens the Panel menu, whichholds a cornucopia of options you probably never need to see (Consider this:

If it were a really important option, it would be easier to get to, wouldn’t it?)

As you can see in Figure 13-13, not all menu options are available for all fonts.Some of the options are merely command forms of the panel menus (such asthe faux styles), and other options are specific to Japanese fonts A number

of the options apply only to OpenType fonts, which include a much larger selection of glyphs (characters) than do other fonts.

Here are a couple of panel menu options with which you should be familiar:

⻬Fractional Widths: When selected, Photoshop uses this option to adjust

the spacing between letters on an individual basis Will you or I spot thedifference? Not with large type, but if you’re creating small text (espe-cially for the Web), clear this option How small is small? Generally 10 pt

or smaller

⻬System Layout: Unless you need to match the appearance of text in

TextEdit for Mac or Windows Notepad, leave this option deselected.When might you need it? When designing interface items for a program

or game

Figure 13-13:Not all options are used with all fonts.

⻬No Break: When working with paragraph type, you can select one or

more words and choose No Break to prevent them from being ated You might want to do this with words that are difficult to recognizewhen split between two lines

hyphen-⻬Roman Hanging Punctuation: Found on the Paragraph panel menu, this

option permits the smaller punctuation marks located at the left andright margins of justified text to hang out past the margins Whencommas and the like are outside the margin, the margin itself has acleaner look Don’t use this option if your layout can’t handle text thatextends past the edges of your column

⻬Adobe Composer: This choice is actually quite simple: Single-Line

Composer looks at one line of type to determine hyphenation Line Composer looks at the entire block of text, generally producing amore pleasing appearance

Every-⻬Reset (panel name): If you’re seeing some strange behavior from your

type tools, you might want to invoke the Reset Character and ResetParagraph commands They restore the settings in their respectivepanels to the defaults, eliminating any errant setting that might be caus-ing the problem

Remember that you can right-click the tool icon at the left end of the Optionsbar and select Reset Tool (or Reset All Tools) to immediately return to thetool’s default settings If the Type tool doesn’t seem to be working correctly,reset and then reselect your options

Putting a picture in your textEnough of that heavy stuff for now — time to take a look at one of the coolestthings that you can do with text Here’s an easy way to create a text-shapedpicture, one that’s fully editable

1 Using File➪Open, Adobe Bridge, or by double-clicking an image file, open a photo in Photoshop.

2 If the Layers panel has a layer named Background, double-click the

layer name and rename the layer (as shown in Figure 13-14) If the image has multiple layers, choose Layer➪Merge Visible.

You want to work with a single regular (not background) layer for thisproject Background layers don’t support transparency, and no layerscan be placed below a Background layer

Figure 13-14:Renaming a background layer converts it to a regular layer

3 Add your type with the Horizontal Type tool.

4 Click the type layer in the Layers panel and drag it below the image layer.

5 In the Layers panel, Option+click (Mac) or Alt+click (Windows) the line between the two layers.

The two layers are joined together, as shown in Figure 13-15 When you

clip two layers, the lower layer serves as a mask for the upper layer The

upper layer is visible only where the lower layer has pixels and adoptsthe opacity of those lower-layer pixels

Figure 13-15:“Clip” the upper layer to the lower layer

6 Finish the image with a layer style (applied to the lower layer) and any other artwork that the project requires.

You can click the lower layer in the Layers panel and then click afavorite layer style in the Styles panel Or, of course, you can create acustom layer style by choosing Layer➪Layer Style In Figure 13-16, yousee a stroke, a bevel, and a slight outer glow applied to the GARDENSlayer

Figure 13-16:Add layer styles to the lower layer so that the effects are visible.

Creating Paragraphs with Type Containers

Although the vast majority of the text that you add to Photoshop artwork is

point type — that is, type that exists on just one or a couple of lines — you’ll

certainly find situations in which you need to use paragraph type in a type

container The primary advantage of using paragraph type is word wrap.

While you type, the text automatically starts a new line every time it reachesthe margin

“Why is that a big deal?” you might ask “I don’t mind pressing the Return orEnter key at the end of each line.” Ah, but consider the ever-present (whenyou type like me) typographical error! What if the very first sentence of yourmanual-Return paragraph is missing a word? To insert that word and main-tain a visually pleasing right margin, you’d need to go back and redo everyline of type With paragraph type, the content of each line automaticallyadjusts as you insert that forgotten word

The difference between point type to create a column of type and paragraphtype is comparable with the difference between a typewriter and a wordprocessor (If you’re old enough to remember Wite-Out and Liquid Paper,raise your hand, but not for very long — I don’t want to tire you out.)Adding a type container is simple Click and drag with the Horizontal Typetool (or, in some rare cases, you might want to use the Vertical Type tool),and then start typing The type automatically starts the next line as soon asyou press enough keys to reach the far margin You can keep typing until youfill the type container Press Return or Enter whenever you want to start anew paragraph within your type container

You can also copy/paste text from a word-processing or text-editing program.

You can, for example, open a Microsoft Word document in Word, select thetext that you want by clicking and dragging, and then choose Edit➪Copy to

place the text into the computer’s memory (on the Clipboard) Switch to your

Photoshop document; select a font, font size, and other attributes; drag atype container; and then choose Edit➪Paste (or the assigned keyboard short-cut) to place your text inside the container When the text you need alreadyexists, you not only save time by using copy/paste, but you also eliminate thepossibility of introducing typos

But what if you have more text than fits in the type container? Unlike

Illustrator and InDesign, you can’t link two type containers, enabling the

excess text to automatically move to the next container Photoshop does,however, remind you that your text doesn’t fit by showing you a symbol in

the lower-right corner of the type container’s bounding box — the dashed line

surrounding the type container As you can see in Figure 13-17, the right anchor point of the bounding box has a plus sign in it

lower-Figure 13-17:A plus sign in the lower-right anchor point warns you that text doesn’t fit in thetype container

When you have more text than the type container can hold, you have anumber of options:

⻬Enlarge the type container Click one of the bounding box’s anchor

points and drag to increase the size of the type container Making a typecontainer a little bit wider often gives you an extra line or two of text atthe bottom

⻬Shrink the font Select the text with a keyboard shortcut (Ô+A/Ctrl+A)and select a smaller font size on the Options bar

⻬Decrease the space between lines Select the text and decrease the

leading — the amount of space between lines of type — in the Leading

field found in the upper right of the Character panel By default (theAuto setting in the Leading field), Photoshop uses an amount equal to

120 percent of the font size You can often reduce the leading to 1 or 2 ptlarger than the font size before you start overlapping lowercase letters

with descenders (g, j, p, q, and y) and uppercase letters on the line

below

⻬Edit the text Rephrase the text, using fewer words to convey the same

message If you’re not the author, however, this option might not beavailable

Selecting alignment or justificationPhotoshop gives you several options for controlling the appearance of yourmargins In the “Taking control of your text with panels” section earlier in thischapter, I outline a number of options that you can find on the Paragraphpanel menu But let me go into more detail about a couple of options that youhave when adding paragraph type

Perhaps the most important decision (other than font and font size) that youmake when preparing paragraph type is a choice of alignment or justification

When text is aligned left, the left margin is perfectly straight, and the right margin is ragged, with each line ending where it ends, without any relationship

to the lines of type above and below A column of text that’s aligned right has a clean right margin and a ragged left margin If you choose center aligned, the

middle of each line of text is centered Take a look at Figure 13-18 for a visualcomparison

Unlike alignment, justification gives you straight margins on both sides of thecolumn of text The four justification options at the top of the Paragraphpanel differ only in how they treat the last line of a paragraph As you can seefrom the Paragraph panel buttons, the last line can be independently alignedleft, center, or right; or it can be fully justified, spreading the last line frommargin to margin You shouldn’t use the fourth option unless that last line (of every paragraph) is rather full because it looks rather strange when just acouple of words are stretched edge to edge

Figure 13-18:Compare the left and right margins of each column of text.

Ready, BREAK! Hyphenating your textWhen a word is too long to fit on the current line of text, either it can bemoved to the beginning of the next line (wrapped), or it can be broken intotwo parts: one finishing the upper line and the other starting the next line(hyphenated)

The hyphenation options are for the truly geeky, my-typography-is-my-life types.

The defaults are excellent and can suffice for all but the most precise layouts(which you should be doing in InDesign or perhaps Illustrator, anyway)

If you want to fine-tune how ation is applied (or have far too much time on your hands), selectHyphenate from the Paragraphpanel menu to open the optionsshown in Figure 13-19 TheHyphenation check box (upper left)activates/deactivates hyphenation

hyphen-The top three fields govern whichwords to hyphenate and what limits

to place on the hyphenation (Think

of the second and third fields as

Hyphenate or cram into the line out hyphenating.) The lower two fields control the appearance of the margin,limiting the number of consecutive lines that can be hyphenated and themaximum distance from that margin that a hyphen can be placed

with-Figure 13-19: Default hyphenation values giveyou good results and a pleasing appearance

Shaping Up Your Language with Warp Text and Type on a Path

You can change the line along which your type flows either by using the WarpText feature or by typing on a path Type warping uses predefined shapes towhich your type is formed (and can be used with both point and paragraphtype), and typing on a path uses a custom path (and is used only with point type)

Warping type and placing type along a path are great ways to spice up yourmessage as long as you don’t overdo it and make the message illegible or dis-tract from the overall appearance of your artwork Warp Text is a quick andeasy way to bend text, and placing type on a path is a more complex — andmore controlled — technique

Applying the predefined warpsWith a type layer active in the Layers panel and a type tool selected, click thebutton to the right of the color swatch on the Options bar That opens theWarp Text dialog box, as shown in Figure 13-20, in which you choose both thedistortion you want to apply as well as the settings

Figure 13-20:The illustration uses two separate type layers, each with its own Warp Textsettings

Photoshop offers 15 different Warp Text presets, each of which you can tomize by dragging any of three sliders Negative numbers can be used, too,reversing the warp You can also set the Bend slider to 0 and adjust the lower

cus-two sliders to create the appearance of depth or perspective for a type layer,but keep in mind that the Horizontal and Vertical buttons aren’t available forsome of the styles Warp Text is one of Photoshop’s truly fun features Thebest way to become familiar with it is to open the dialog box and test-driveeach of the variations And don’t forget to try the Horizontal and Vertical but-tons when they’re available!

Customizing the course with pathsYou can use the shape tools or the Pen tool to create a custom path alongwhich you add your text (You find full information about paths and shapelayers in Chapter 11.) To add type along a path, simply select the HorizontalType or Vertical Type tool, click the path, and type The flow of the type fromthe point on the path where you click is determined by the alignment optionthat you select from the Options bar or the Paragraph panel If the text is left-aligned, characters are added to the right of the point where you click (called

the point of origin for the type) Left alignment is great when adding type

along an open path, such as the upper path in Figure 13-21 You might, ever, want to choose center alignment when adding type along the top of anarc or circle, so you can click on the top of the arc and not worry about drag-ging the type later to center it

how-Figure 13-21:Text alignment determines where the text goes from the point where you click onthe path

If you want type to go in two different directions — say, pointed upward alongboth the top and the bottom of a circle — you need to create two separatepaths and two separate type layers, as shown in Figure 13-22.

After you add your type to the path, you can press the Ô/Ctrl key and tion the type along the path by dragging When you press and hold Ô/Ctrl,the type tool’s cursor changes to an I-beam cursor with a heavy black arrow

reposi-on either side, indicating which way you can drag the type You see the type’spoint of origin as a hollow diamond on the path (not to be confused with thehollow squares that represent the path’s anchor points) Figure 13-23 givesyou a zoomed-in look at the converted cursor and a comparison of the point

of origin diamond and the anchor point square Note, too, that not only can

you drag type along a path, but you can also drag it across the path, flipping

over the type

Figure 13-22:Sometimes you need to create two separate type layers, using two separatepaths, to achieve your artistic goals

Figure 13-23:When you drag the cursor across the path a short distance, type flips over.

After flipping type across a path, you might need to adjust the tracking (thespace between characters), which is the second field from the top on the right

in the Character panel And don’t be afraid to click in the type and press thespacebar a few times to adjust the placement of words along the path

A word about fonts

You already have a nice selection of fontsinstalled on your computer Some are installedwith the operating system (Windows or Mac), anumber of fonts may have been installed withthe Adobe Creative Suite, and other programscould have tossed more morsels into the stew

However, you might find that the more you workwith text, the more you crave additional fonts

Although having lots of fonts can stretch youroptions, too many fonts can lead to slowdowns

and other problems If you do find yourselfsomeday with a massive collection of fonts (Ihave over 7,500 fonts), none of which you couldbear to part with (okay, I could part with some

of them), use a font management utility TheMac OS has the built-in Font Book, and Extensis(www.extensis.com) offers Suitcase Fusion(Mac, about $100) and Suitcase (Windows,about $80)

Painting in Photoshop

In This Chapter

䊳Adding color manually for complete control

䊳Discovering tools with and without brushes

䊳Traversing that amazing Brushes panel

䊳Creating do-it-yourself brushes

Painting The word evokes images of brushes and palettes and color being

precisely applied to canvas Or, perhaps, images of drop cloths, ladders,rollers, and buckets — color being slopped on a wall and spread around Itdoesn’t generally bring to mind digital image editing But painting certainlyhas a place in your arsenal of Photoshop skills, even if you never create animage from scratch

In addition to painting landscapes and portraits (which you tainly can do in Photoshop, if you have the talent and train-ing), you can use Photoshop’s painting tools for a variety

cer-of other tasks For example, you can paint to createmasks and layer masks, adjust tonality or sharpness inspecific areas, repair blemishes and other damage in

an image — even to create graphic elements andspecial effects

In this chapter, I concentrate on those related painting skills rather than fine art painting

editing-I introduce you to the basic concepts of painting inPhotoshop and also walk you through the basic brush-related tools and the Brushes panel, concentrating onthose features that you most likely need (as well as a few

of the other, more artistic features) To wrap up the chapter,

I show you how to create custom brush tips and how to savethem for future use

Discovering Photoshop’s Painting Tools

Nothing in Photoshop gives you more precise control of color in your imagethan using the Pencil tool with a 1-pixel brush Remember that your imageconsists of a whole lot of little colored squares (pixels) and that the color ofthose individual squares is what produces the appearance of a tree or asunset or even good ol’ Uncle Bob If you zoom in really close on an image,you can paint pixel by pixel — you could even create an entire image, onepixel at a time!

Whether you’re using a tiny brushwith the Pencil tool or a largerone with the Brush tool, addingcolor to your image with the paintingtools enables you to create beautiful

or whimsical imagery, such as what’sshown in Figure 14-1 (with acknowl-

edgment to Picasso’s Woman with Pears).

As you work in Photoshop, however,you’ll find many very important rolesfor the brush-using tools other thancreating imagery From touching updust and scratches in a scan toremoving distant power lines from aphoto to perhaps adding wispy hairs

to soften the outline of a head, youhave lots of reasons to paint inPhotoshop (many of which you canread about in Chapters 9 and 10)

When you’re capable and confidentusing the Brush tool, you might evenfind it the best way to make selec-tions in your image Selections with the Brush tool? That’s right — painting in

an alpha channel creates or refines a saved selection (You can read aboutalpha channels in Chapter 8.) Photoshop even has a tool that you can use

to make selections directly The Quick Selection tool, like the Magic Wand,selects areas of similar color However, instead of Shift+clicking in a variety

of areas with the Magic Wand to add to your initial selection, you simplydrag the Quick Selection tool The brush diameter, selected in the Optionsbar, tells Photoshop the size of the area you want to search for similarlycolored pixels

Original artwork © 2005 Peter Bauer

Figure 14-1: Painting with the Brush tool is yetanother way to create in Photoshop

You have 18 tools that use brushes available in Photoshop Here are just afew of the things that you can do with these tools:

⻬Add color (Brush, Pencil)

⻬Adjust tonality (Burn, Dodge)

⻬Sharpen, blur, and smear (Sharpen, Blur, Smudge)

⻬Correct color and texture (Healing Brush, Spot Healing Brush, ColorReplacement)

⻬Select areas of similar color (Quick Selection)

⻬Copy/paste pixels (Clone Stamp)

In this section, I discuss the primary painting tools and introduce you tosome of the other brush-using tools (Check Chapter 9 for additional informa-tion on healing and cloning in your image.)

Painting with the Brush toolYou control where the Brush tool

works by selecting a brush tip of a

particular size, shape, and hardness

(the fuzziness, or lack thereof, alongthe edges of a round brush tip)

Remember, too, that you can usethe Brush and other painting tools

to create subtle changes in existingcolors By selecting an appropriateblending mode and opacity, you canmix the painting color into the exist-ing colors in your image Make thesebasic decisions from the Options bar,shown for the Brush tool in Figure 14-2

As you see in Figure 14-2, the Options bar gives you access to a miniatureBrushes panel, from which you can pick a brush tip, change its size, andadjust the hardness of the brush’s edges (Only round brush tips use theHardness adjustment.) The five sample lines to the right show Hardness, from0% to 100% in 25% increments, all using a 40-pixel brush The Brush tool canuse any brush tip that you have in the Brushes panel — and, as you can readlater in this chapter, you can customize the brush tip in a variety of ways

You’re actually ready to paint in Photoshop already! Select a foregroundcolor, select the brush size that you want, decide how hard or fuzzy the

Figure 14-2: Make the primary decisions aboutpainting tool behavior from the Options bar